THE THEATRE of GRISELDA GAMBARO By

BEYOND WORDS: THE THEATRE OF GRISELDA GAMBARO by FRANCINE MARY A'NESS B.A. SHEFFIELD UNIVERSITY, ENGLAND, 1991 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Department of Hispanic and Italian Studies We accept ths thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1994 © Francine Mary A'ness, 1994 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of \4ij,PANlC f Trf\L//\KJ STUDiES The University of British Columbia Vancouver, Canada Date 10 * %. ^Lh . DE-6 (2/88) ABSTRACT Griselda Gambaro is one of Argentina's most well known playwrights, whose dramatic work has made an important contribution to Latin American theatre. While she was a controversial figure of Argentina's avant garde movement of thel960's, her dramatic work has since gained the respect of her contemporaries, the admiration of audiences and the interest of critics both at home and abroad. Her theatre, originally associated with the Theatre of the Absurd, tends to be anti-mimetic and experimental in style, while in thematic content Gambaro remains acutely aware of the changes in her country's recent socio-political climate. The aim of this thesis is firstly to highlight the important contribution Gambaro has made to the Argentinean stage through her attempts to offer alternative forms of theatrical expression to realism; and, secondly, to analyse the evolution of her theatre from the dual perspective of dramatic style and thematic content. In order to better understand Gambaro and her theatre, in chapter one we will situate her in a clearly Argentinean context. In chapter two we will focus in more detail on Gambaro's particular dramatic style, the possible influences that have brought about its genesis and the changes it has undergone in the last three decades. These changes we will see are based upon continued experimentation and a heightening politicization of the playwright herself. The final section of the thesis will illustrate the ideas put forth in chapter two through an analysis of four of her plays. The four plays chosen, El desatino. El campo, Information para extranjeros and Del sol naciente, span the period 1965 to 1983, and can be regarded as representative works for showing the evolution of both stylistic and political concerns within Gambaro's theatre. TABLE OF CONTENTS Abstract Table of Contents in Acknowledgement IV INTRODUCTION Chapter One Stages in the Development of Argentinean Theatre 4 The Polemic: Realists vs. Absurdists 21 Beyond the Polemic: Politics and Theatre 25 Notes to Chapter One 35 Chapter Two Griselda Gambaro: A Short Biography 36 The Theatre of Griselda Gambaro: Content, Style and Evolution 40 Method of Analysis 50 Notes to Chapter Two 53 Chapter Three El desatino 56 Notes to Chapter Three 68 Chapter Four El campo 69 Notes to Chapter Four 81 Chapter Five Information para extranjeros 83 Notes to Chapter Five 98 Chapter Six Del sol naciente 100 Notes to Chapter Six 114 CONCLUSION 115 Bibliography 118 Appendix One 123 m ACKNOWLEDGMENT I wish to extend my thanks to the following people without whom this thesis would have proved a lot more daunting: Dr. Isaac Rubio for introducing me to Argentinean theatre and finding the time to work with me, his words of wisdom, patience and support proved invaluable to the end; Dr. Maria Tomsich for her assistance, enthusiasm, and help in overcoming the great fear of getting started; Douglas Moody, my friend and partner, for lending a critical ear as well as typing, proof-reading, endless hours of encouragement and bottomless pots of tea. Finally, to all my friends and colleagues who helped put theory into practice and mount a production of El campo at the Secret Space Theatre in Vancouver. iv INTRODUCTION Griselda Gambaro (1928 -), playwright and novelist, was an integral member of Argentina's neovanguardia during the 1960's and has remained one of Latin America's leading dramatists to this day. Since 1965, when her second play El desatino was performed at the experimental studios of El Instituto Torcuato di Telia in Buenos Aires, she has gained increasing renown as well as rebuke for her experimental, controversial and highly original style of play writing. Always at the forefront of dramatic innovation at home, and aware of avant garde developments abroad, Gambaro's dramatic work has, for three decades, continued to evolve within the realms of non-realistic, anti-mimetic theatre. As a result, she has consistently exposed Argentinean audiences to the many varied alternatives of reproducing reality. When she first began writing theatre, Gambaro was accused among her contemporaries of using dramatic styles alien to the Argentinean stage. As a result, she was quickly labelled an "Absurdist" and branded for being anti-Argentinean and apolitical. Controversy, however, only served to foment interest in her work. By the late '60's, a growing socio-political crisis in Argentina served as an impetus to bridge the gap between dissenting members of the theatre world. All of a sudden, the anti-realistic techniques established by playwrights such as Gambaro became useful tools for combating censorship. Likewise, growing concern with the increased human rights violations perpetrated by the State forced Gambaro, while still anti-realistic in tenet, to take a more overtly political standpoint in her work. While Gambaro, as a playwright, can be seen to be continually searching for new stage languages and dramatic structures as a means of transforming reality, certain general characteristics can be noted to describe her work. The world Gambaro chooses to convey in her theatre is violent, strange, disturbing and often in itself highly theatrical. Irony, ambiguity and paradox are the outstanding features of her dramatic style, while 1 black humour is the tone she most favours for capturing the horrors of contemporary Argentinean reality. The use and abuse of power, and the dangers of passivity, denial and naivety are the dominant themes that span all her work. The aim of this thesis is to, firstly, highlight the important contribution Gambaro has made to the Argentinean stage through her attempts to offer alternative forms of theatrical expression to realism; and, secondly, to analyse the evolution of her theatre from the dual perspective of dramatic style and thematic content. In order to approach the theatre of Griselda Gambaro and understand her work as more than just an adaptation of avant garde theatrical trends established in Europe, in chapter one we will begin by situating her quite clearly in an Argentinean context. We will trace the stages in the development of Argentinean theatre this century, from its formative years, through maturity with the independent theatre movement, to the great explosion that took place at the beginning of the 1960's and the dark years of repression that were to follow. Innovation from abroad will be seen as no stranger to the Argentinean stage and socio-political turmoil a common catalyst for the creation of new and ever-changing dramatic texts. In this first chapter, as Gambaro is to be as just a small part of a vast and varied whole, only brief mention will be made of her and only when particularly pertinent. In chapter two, Griselda Gambaro will be brought into the foreground and her life and work will be studied in greater detail. Mention will be made of the various dramatic styles upon which her work is founded, namely the Theatre of the Absurd, Antonin Artaud's Theatre of Cruelty and Armando Discepolo's grotesco criollo. Her dramatic oeuvre will be divided into three distinct periods —the plays of the '60's, the plays of the 70's and the plays of the '80's. The stylistic differences to be highlighted between each period will show Gambaro's continued emphasis on experimentation, whereas her varied treatment of original themes will provide ample evidence for tracing an evolution of Gambaro's concern with Argentina's changing socio-political climate. 2 Chapters three, four, five and six will illustrate the ideas introduced in chapter two through the analysis of four of her plays. El desatino (1965), El campo (1967), Informacion para extranjeros (1972) and Del sol naciente (1983) are the plays to be studied and have each been found to be representative works in Gambaro's political as well as dramatic evolution. 3 CHAPTER ONE The 1960's were the beginning of an exciting and controversial period in Argentinean theatre. It was a period marked by innovation and change, providing the impetus for the modernization and transformation of the Argentinean stage. The reasons for this are numerous. A short interval of unrestricted democracy allowed for the development of a counter-culture youth movement, which was highly-politicized and desperate to find ways of acting against the status quo. Theatrical traditions established at the beginning of the century were being re-evaluated and modernized. The ideas of Konstantin Stanislavski were being readily circulated, the result of which was the formation of new type of realistic stage-acting. This, in turn, served as a stimulus for a new style of realistic play writing. The socially committed independent theatre movement begun in 1930 had reached maturity and was now in decline.

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